type: interactive visual & sound installation
materials: wood, sumi paper, video projection
stereo sound broadcast
control device for the spectator X, Y, Z
Goupile is a researcher and musician.
In her research, conducted in the past at the Ecole Normale Supérieure, the Institute for Acoustic Music Research IRCAM, and today at the University of East London, she is interested in communication and its emergence, in this that stands on the edge of words and allows us to learn and understand them.
In her music, she explores the tensions and similarities between electronic sounds
and organic, digital music and oral music.
dossier on the process of
research-creation to download:
We use the DAVID and ANGUS programs
developed by Jean-Julien Aucouturier, Marco Liuni and their colleagues within the framework of the CREAM project ( http://cream.ircam.fr/ ; PDS / IRCAM, Paris, France).
This installation explores the perception of sound in the perception of visual material. We color various sounds with human emotional acoustic signatures, and invite the viewer to create & immerse themselves in different soundscapes. In this installation, the experience of emotional contagion takes place within an environment in the form of a mimesis of an aquatic & maritime pit. Emotional contagion goes hand in hand with erosion. A pad allows you to modulate the affective colors of the sound by touching the pad and moving the finger from left to right, and up and down, modulating the adequacy between the sound and the projected image.
The cenote is also developing in a concert or "club" version. Spectators are invited to become an actor in the device, their presence being captured and directly modifying the ecosystem of the cenote through movement and sound sensors. As a group, the spectators thus have a direct impact on the environment of the cenote, reproducing by accelerating the impact of humans on an ecosystem (, for better or for worse.)
sound & video equipment installed:
Myths & archetypes:
These reconstructed sound and visual landscapes, we have chosen them because they are archetypal:
we use sound & visual extracts of species or places which locally harbored myths and still arouse multiple or even opposing projections and affects today: such as cetacean vocalizations & underwater chasms.
Immersion and loops:
We are working on visual and sound loops: video recordings were made in submerged caves, as well as sound recordings. Traveling shots within these spaces endlessly repeat these passages from light to dark. These tunnels evoke Lovecraft's writings, or near death experiences, emotional cycles.
Cenotes are natural wells sometimes filled with seawater when they communicate with the oceans, which can reach several tens, or even hundreds, of meters in depth. Their name comes from the Maya dz'onot meaning "sacred well", via the Spanish cenote: some of them were in fact considered by the ancient Mayans as communicating with the " underworld " and they threw offerings to the gods of the Xibalba .
Swells & ghouls: intertidal caves, fairies
We were interested in the folkloric and ethnographic collections carried out by Paul Sébillot and Françoise Morvan concerning goules and houles (sea caves) in which fairies lived. These ambivalent characters were capable of great kindness as well as of violent cruelty. The intertidal caves therefore shelter around Saint Malo mythical figures both Aeolian and chthonian.
The vocalizations of cetaceans; bottlenose dolphins
We were interested in the sounds produced by bottlenose dolphins. Specifically those present in the Bay of Somme and around. These animals arouse the interest and affection of the general public: perhaps because their anthropomorphism fascinates.
In Europe, traces of their mythification date back to ancient Greece.
An ethnographic collection carried out in Amazonia in 2012 had familiarized us with the myths of the boto, ( or even Inia geoffrensis). The Amazonian pink dolphin is a local mythical figure, a kind of man-fish that produces hybrid and monstrous creatures.
In the device, the images are projected and appear on both sides of the cenote, for an impression of transparency.
The stereo sound system is made at 3 points with a SUB placed behind the sound controller.
The sound controller allows you to navigate between vocalizations.
We collected different types of sounds: whistles, echolocation clicks, bray calls, burst pulses, low frequency sounds that we then reassembled. A hunt has been reconstituted with a "victory squeal". We collected sounds by hydrophones & recovered data stored on the internet or by associations & researchers. We also recorded soundscapes in intertidal caves to perform our soundscapes design.
This sound loop was then processed by DAVID and ANGUS on maxMSP and Ableton live so that the soundtracks were assigned to an X, Y, Z type controller.
We got several tracks: a "neutral" track, an "angry" track, a "sad" track, a "happy" track.
The sound controller allows the user to interact with these sound tracks and to modify the audio gains of the tracks to vary the "sound emotions": specific to human beings.
The maritime universe is modulated according to your desires. The language of dolphins is colored emotionally, by anthropomorphism.